Olivia
Olsen
Sponsor: Matthew Stratton, Ph.D. English The sublime as an aesthetic category is concerned with the vast power and scale of the natural world. It deals with that which is insurmountable or incomprehensible relative to humanity. However, as humankind's relationship to the natural world changes, so too does our relationship to the insurmountable and incomprehensible. The sublime takes its form around this historical and individual dependency. The climate crisis, in its modern instantiation, possesses inherently sublime qualities in that it far exceeds the individual in scale and temporality. The sublime thus acts, I argue, as a progenitor of the climate crisis: obscuring its effects and furthering catastrophe by making the crisis appear beyond human intervention. The climate crisis can be thought of as a synthetic sublime that is culturally produced and obscured. Understanding the sublime's role in climate change elucidates this obscurity. To make sense of this sublime influence I turn both to modern theoretical work and the Romantics' conception of sublimity. Diverse Chinese Masculinity: Examining the Party-State's impact on Domestic Chinese Films
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Olivia Olsen
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In the past decade, the subject of masculinity has been widely debated in Chinese media and government, reignited through portrayals of Chinese men on screen deemed effeminate. In response to the moral panic of soft masculinity, termed as 'little fresh meat' (xiaoxianrou) Chinese officials seek to control popular films by censorship and controlling discourse in Chinese media. Through an analysis of six of the highest-grossing films in the domestic box office in Mainland China, this article examines how Chinese masculinity is developed and reproduced using popular media after official measures are instated. In this preliminary study, I suspect that we will find that masculinity is still increasingly diversifying, however, representations are not inclusive of men who embody feminine characteristics. Although gender portrayal is becoming increasingly diverse beyond simple gender binaries, domestic Chinese films predominantly emphasize hegemonic masculinity, reflecting an underlying hierarchy. This shift of masculinity is reinforced by the Chinese Communist Party's (CCP) policies and initiatives to strengthen China's soft power through cultural production. Soil Carbon and Hydrological Responses to Conservation Management in California's Napa Valley Vineyards zachary orlando-milbauer
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UC Davis / Sociology / 2024
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Olivia Olsen